University of Arts in Belgrade

Total Page:16

File Type:pdf, Size:1020Kb

University of Arts in Belgrade UNIVERSITY OF ARTS IN BELGRADE Centre for Interdisciplinary Studies UNIVERSITÉ LUMIÈRE LYON 2 Faculté d'Anthropologie et de Sociologie UNESCO Chair in Cultural Policy and Management Master thesis FESTIVALS AS GENERATORS OF KNOWLEDGE Case study of Kondenz Festival of Contemporary Dance Student: Tina Dunjić Mentor: Milena Dragićević Šešić, PhD Belgrade, September 2011 Acknowledgment I would like to express my gratitude to my mentor professor Milena Dragičević Šešić for her guidance, encouragement and support to my research. For inspiring me on the subject and her endless support I express my gratitude to Marijana Cvetković. The research couldn’t be accomplished without Dragana Alfirević and Marijana Cvetković from Station, artists/dancers/choreographers Ljiljana Tasić and Jovana Rakić, Aja Jung and Milena Radovanović from Belgrade Dance Festival and Biljana Tanurovska from Locomotiva Skopje. Thank you for finding the time and patience for responding to my questions. My gratitude goes to all my colleagues from MA program. Without you this year wouldn’t be one of the best years of my life. Thank you for the laughter, fun and bounding we made, it is unforgettable. My gratitude finally goes to my family for always believing in me, to my husband Alexis for his encouragement and for standing by me and to Agnès, who will always be in my heart. 2 Contents: ACKNOWLEDGMENT .......................................................................................................... 2 ABSTRACT .............................................................................................................................. 5 RESUMÉ (EN FRANÇAIS) .................................................................................................... 6 INTRODUCTION .................................................................................................................. 10 The aim of the thesis ................................................................................................................. 12 Methodology ............................................................................................................................. 13 CHAPTER I - INTRODUCTION TO THE FESTIVALS 1.1. Notion ................................................................................................................................ 15 1.2. Festivals through history ................................................................................................... 16 1.3. Festival classification and different festival functions ...................................................... 18 1.3.1. Why are festivals so attractive? .................................................................................. 21 1.3.2. What should be the mission of festivals? ................................................................... 22 1.4. A phenomenon of festival overproduction ........................................................................ 22 1.5. Contemporary dance festivals ........................................................................................... 26 CHAPTER II - CONTEMPORARY DANCE FIELD OUTSIDE THE CULTURAL POLICY IN SERBIA 2.1. Cultural policy of contemporary dance in Serbia .............................................................. 28 2.1.1. History of contemporary dance in Serbia ................................................................... 32 2.1.2. Beginning of THE contemporary dance scene in Serbia ............................................ 34 2.2. Festivals which promote contemporary dance in Serbia ................................................... 37 CHAPTER III - REGIONAL CONTEXT FOR CONTEMPORARY DANCE DEVELOPMENT IN SERBIA 3.1.Station- service for contemporary dance ............................................................................ 40 3.2. Nomad Dance Academy (NDA) ........................................................................................ 42 3 CHAPTER IV - FESTIVALS AS MOVING FACTORS OF DANCE PRACTICES IN SERBIA 4.1. Kondenz dance festival ...................................................................................................... 47 4.1.1. Who is a curator? How to define curating? ............................................................. 50 4.2. Belgrade dance festival ...................................................................................................... 53 4.3. Comparative analysis of Kondenz dance festival and BDF .............................................. 56 CHAPTER V – POSSIBLE NEW MODEL OF FESTIVAL 5.1. What are new curating practices? ...................................................................................... 61 5.2. Proposal of new model ...................................................................................................... 62 CONCLUSION ....................................................................................................................... 65 BIBLIOGRAPHY ................................................................................................................... 67 APPENDIX ............................................................................................................................. 70 ABOUT THE AUTHOR ........................................................................................................ 82 4 ABSTRACT The idea for this master thesis came as a result of internship in Station-service for contemporary dance in Belgrade who is an organiser of Kondenz contemporary dance festival, which is a case study of the thesis. The model of this festival was a starting point for research about the festival value as a space for creation, production and transfer of ideas and knowledge. Through research about festivals an overall picture of this field is presented in order to explore missions, roles and values they have. Since Kondenz is a festival of contemporary dance from Serbia, its local context was presented. Contemporary dance in Serbia is explored through its history and policy and two most important actors for its development, Station- service for contemporary dance and Nomad Dance Academy regional project for professional education in the field of the contemporary dance. Both of these actors are initiators of Kondenz festival and make a valuable source of information about the context, its concept and its purpose in the local context. The focus of this master thesis was on the case study. The detailed analyse of its concept, mission, vision, goals and its form was done with aim to present a festival and the flexible model of festival. Its model was analyzed along with a model of Belgrade Dance Festival, which is completely different model of festival. The comparative analysis of these two festivals was made made in order to distinguish differences between two completely different models of festivals from the field of dance and their influence on the local context. Possible new model of festival and its presentation is based on information provided from all of analysis made in field of festivals in generally and specifically from the information provided from the analysis of festival Kondenz . From this research it can be concluded that festivals that generate knowledge have bottom-up approach concept, have a form of platform where all the participants are invited to join by changing the roles and becoming active participants. With its flexible, experimental form this festival could be easily applicable. The most important thing is its influence an all participants and the local context. 5 RESUMÉ (EN FRANÇAIS) S'adressant aux individus, les arts et la culture sont des moyens pour atteindre leurs sens et leur intellect. Dans cet ordre d'idée, le rôle des festivals est d'observer attentivement l'évolution de leur environnement et les besoins de leurs publics, afin de proposer à ces derniers un regard renouvelé sur le monde qui les entoure. Les festivals tiennent une place privilégiée pour fournir à chacun les moyens de faire l'expérience de la culture. Ils ont en effet pour principales caractéristiques d'être différents, innovants et productifs. Les festivals ouvrent les portes à de nouvelles formes artistiques, de nouveaux artistes, de nouveaux publics, des lieux insolites, des cultures inconnues, de nouveaux points de vue, de nouvelles façons d'appréhender le monde, de nouveaux ordres sociaux, de nouvelles discussions politiques. De nos jours, on a très souvent recours la forme du festival à des fins diverses, créant ainsi leur multiplication, voire leur surproduction. De nombreux faits attestent que les festivals sont devenus un produit de consommation, ayant alors perdu leur but initial. Ils sont de plus en plus considérés comme des manifestations visant à attirer les gens, et non comme un événement à même d'établir de nouvelles pratiques et de nouveaux modèles. Ainsi, la réussite et la qualité des festivals sont en général mesurées quantitativement. En effet, si un festival a été fréquenté par un grand nombre de visiteurs, si les médias lui ont porté une attention particulière et si les sponsors se sont montrés nombreux, alors ce festival est considéré comme un succès. L'objectif de cette recherche est d'examiner en quoi un festival, en tant que type de manifestation culturelle, peut être considéré comme un espace générateur de connaissances. Remplissant une mission culturelle, il s'agit de voir ce qu'un festival offre ou peut offrir en termes de questionnement, d'apprentissage, de réflexion, d'impact. Cet objectif s'appuie sur le fait qu'un festival, de par sa
Recommended publications
  • Etnoantropoloski Problemi 2017-02.Indd
    UDK: 159.953 S A 792:316.7 DOI 10.21301/.122.13 Milena Dragićević Šešić Faculty of Drama Arts, University of Arts, Belgrade, Serbia [email protected] Milena Stefanović Faculty of Drama Arts, University of Arts, Belgrade, Serbia [email protected] Organizational trauma – Types of organizational forgetting in the case of Belgrade theaters Abstract: Organizational memory studies (OMS) frame memory in a managerial mode, treating it as a data storage, limiting the scope from wider field of social me- mory studies. There is a lack of understanding about how the process of institutional forgetting works and how some memories stay a part of oral narratives and commu- nicative social memory while they are omitted from the official memory represented by the official documents and events of remembering. Inspired by Paul Connerton’s article on the typology of forgetting we explore his typology in selected case studies of three public theaters located in Belgrade, focusing on remembering policy and practices investigating if a type of forgetting typical for a state/society/nation level is possible to be applied in the context of a cultural organization. We agree with Wessel and Moulds that developing common language and terminology would be important and beneficial for cross disciplinary dialogue. In this sense, the study shows how the typology of for- getting in societies can be applied and developed in the organizational memory studies and cultural management. The focus of the research is the dynamics of remembering and forgetting explored through analysis of the interaction between changing context, official institutional memories, and social communicative memories.
    [Show full text]
  • Serbian Musical Theatre
    UNIVERSITY OF ARTS IN BELGRADE Center for Interdisciplinary studies UNIVERSITE LUMIERE LYON 2 Faculté d'Anthropologie et de Sociologie UNESCO Chair in Cultural Policy and Management Master thesis: DEVELOPMENT OF MUSICAL THEATER; Potentials and Obstacles by: Sara Mandić Supervisor: Maja Ristić, PhD Belgrade, September 2011. Acknowledgments I would like to express my gratitude: To Ivana Nedeljković, PR manager of Terazije Theater, who was so kind to provide necessary information for this work; as well as to whole Terazije Theater management, for their kindness, willingness and openness; To my mentor, Prof. Maja Ristić, for her advices and ideas, for her support, incredible enthusiasm, and devotion; To my dear friends Jana and Milena for their enormous help and encouragements, to Jovana and Vladimir, beloved persons in my life, and off course to my family; And to all my colleagues, musicians friends, and ‘fellow-fighters’ as well, since they share passion for this uncommon subject. 1 Table of Contents Table of Contents ........................................................................................................... 2 Abstract .......................................................................................................................... 3 Résumé ........................................................................................................................... 5 1.Introduction ............................................................................................................... 12 1.1. Conceptual and theoretical
    [Show full text]
  • Serbia's Diplomatic Chief Faces Hard Choices
    Issue No. 161 Friday, May 16 - Thursday, May 29, 2014 ORDER DELIVERY TO Belgrade No chance Saving YOUR DOOR +381 11 4030 303 to build Nazi of boredom the rich [email protected] - - - - - - - ISSN 1820-8339 1 death camp in golden sound BELGRADE INSIGHT IS PUBLISHED BY 0 1 memorial Bor of Sevdah Page 5 Page 9 Page 10 9 7 7 1 8 2 0 8 3 3 0 0 0 Even when the Democrats longas continue to likely is This also are negotiations Drawn-out Surely the situation is urgent Many of us who have experi We feel in-the-know because bia has shown us that (a.) no single no (a.) that us shown has bia party or coalition will ever gain the governa form to required majority negotiations political (b.) and ment, will never be quickly concluded. achieved their surprising result at last month’s general election, quickly itbecame clear that the re sult was actually more-or-less the result election other every as same in Serbia, i.e. inconclusive. as Serbia’s politicians form new political parties every time disagree with they their current party reg 342 currently are (there leader political parties in Serbia). istered the norm. One Ambassador Belgrade-based recently told me he was also alarmed by the distinct lack of urgency among politicians. Serbian “The country is standstill at and a I don’t understand their logic. If they are so eager to progress towards the EU and en theycome how investors, courage go home at 5pm sharp and don’t work weekends?” overtime.
    [Show full text]
  • Impact of COVID‐19 on the Cultural and Creative Sectors in the EU's
    CULTURAL RELATIONS PLATFORM EUROPAID/140334/DH/SER/MULTI The Assessment of the Impact of COVID‐19 on the Cultural and Creative Sectors in the EU’s Partner Countries, Policy Responses and their Implications for International Cultural Relations Pierangelo Isernia and Alessandro Giovanni Lamonica (DISPOC, University of Siena) February 2021 This publication was produced with the financial support of the European Union. Its contents are the sole responsibility of the Cultural Relations Platform1 and do not necessarily reflect the views of the European Union. 1 This impact assessment and the mapping and analysis of policy responses have been conducted in the framework and on the request of the Cultural Relations Platform. We thank Sana Ouchtati and Jermina Stanojev, the consortium partners (Goethe‐Institut, IETM ‐ International network for contemporary performing arts, and ECF – the European Cultural Foundation), and Prof. Richard Higgott for their input during the different stages of preparation of this report. We also thank the team of regional experts who assisted us with the data collection and who offered their precious feedback regarding our analysis: Tetiana Biletska, Fatin Farhat, Pedro Affonso Ivo Franco, Moukhtar Kokache, Mourad Sakli, Milena Dragićević Šešić, Anupama Sekhar. Finally, we thank Federica Falchetti, Bomei Chen, Zeina Nasser and Alessandra Praticò of the University of Siena for their research assistance in the data collection process. 1 TABLE OF CONTENTS Executive summary .................................................................................................................................
    [Show full text]
  • New Plays and Theatre Forms
    PLAYgrounds Between Facts and Fiction: New Plays and Theatre Forms International Theatre Meeting in Pristina PLAYGR16th — 18th of June 2011 Takim Ndërkombëtar New Teatror në Prishtinë OUNDS16 — 18 qershor 2011 BETWEENPlays FACTSand ANDTheatre FICTIONForms 1 Menaxhuar dhe kuratuar nga / Directed and curated by: Lucia Zimmermann Bashkëkurator / Co-Curation: Jeton Neziraj Asistente e projektit / Project asstistant: Nita Hasani Asistenca teknike / Technical assistance: Valon Bajgoraj, Lulzim Bucolli Përkthimi / Translations: Visar Krusha, Qerim Ondozi Dizajni / Design: Bardhi Haliti Bashkëpunëtorët / Cooperation partners: Teatri Kombëtar i Kosovës Tetris Sponzorët / Sponsors: Goethe-Institut Belgrad Robert Bosch Stiftung Olof Palme International Center American Embassy of Kosovo Partner medial / Media partner Gazeta Express www.playgroundstheatre.wordpress.com www.qendra.org 2 3 Theatre Meeting in Pristina 16th – 18th of June 2011 PLAYgrounds Between Facts and Fiction: New Plays and Theatre Forms A performance that tries out the boundaries between fact and fiction, public and private in the middle of a Kosovar private apartment. Productions that are based on personal memories of the war in Kosovo or the events of September 11th 2001. Amateurs and actors who come together in a hostel and play a piece inspired by reality. Young theatre artists from Belgium, Germany, Israel, the Netherlands, the United States and in particular from the Balkan region come to Pristina to join the theatre meeting “PLAYgrounds between facts and fiction” with texts, projects and plays in their luggage. Together they reflect on the function of theatre in general, on new modes of presentation and perception for the audience, on ways of artistic expression and possible PLAYgrounds for them.
    [Show full text]
  • Congress Proceedings
    The European network on cultural management and policy 2020 Congress Proceedings Cultural management and policy in a post- digital world – navigating uncertainty Cultural management and policy in a post-digital world – navigating uncertainty 11th Annual ENCATC Education and Research Session November 9-10, 2020 Online Cultural management and policy in a post-digital world – navigating uncertainty BOOK PROCEEDINGS The European Commission support for the production of this publication does not constitute an en- dorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein. 1 Cultural management and policy in a post-digital world – navigating uncertainty Editor ENCATC Edited by Tanja Johansson, Sibelius Academy, University of the Arts Helsinki (Finland) Scientific Committee Members: Elena Borin, Professor, Burgundy School of Business, France Blanka Chladkova, Vice-Dean, Janáček Academy of Music and Performing Arts, Czech Republic Roberta Comunian, Reader in Creative Economy, King’s College London, United Kingdom Terje Gaustad, Assistant Professor, Norwegian Business School, Norway Toni-Matti Karjalainen, Professor of Arts Management, Sibelius Academy at the University of Arts Helsinki, Finland Shu-shiun Ku, Assistant Professor, The Department of Cultural Creative Industries, National Pin- tung University, Taiwan Anna Mignosa, Lecturer, Erasmus University Rotterdam, Netherlands Pavla Petrová, CEO, Arts & Theater Institute,
    [Show full text]
  • GROWING DRAMATURGY 1 2 DRAMATURGIJA U ODRASTANJU ASSITEJ Srbija
    GROWING DRAMATURGY 1 2 DRAMATURGIJA U ODRASTANJU ASSITEJ Srbija. Kazališni Epicentar/ Theatre Epicentre, 8. TIBA Festival , BritishCouncil Serbia predstavljaju / present Internacionalni forum dramskih pisaca DRAMATURGIJA U ODRASTANJU GROWING DRAMATURGY The International Playwrights’ Forum Beograd 6. – 7. jun 2010. Malo pozorište “Duško Radović” 4 DRAMATURGIJA U ODRASTANJU DRAMATURGIJA U ODRASTANJU GROWING DRAMATURGY Internacionalni forum dramskih pisaca za najmlađu i mladu publiku International Playwrights ’ Forum For Young Audiences Uvodnik Introduction Prateći program jednog festivala nije samo popuna glavnog pro- Despite how it might seem, a side programme of a festival is far grama kako može da izgleda na prvi pogled. To je prostor u kome from being mere filler for the main one. It offers a space for clari- nastaje implus koji izoštrava vizuru, zametak ideja za suštinsko fying the main concept and it generates ideas that lead to a real pomeranje napred. ASSITEJ Srbije koristi ovaj prostor za programe breakthrough. ASSITEJ of Serbia uses the space for programmes koji provociraju kvalitetnu razmenu znanja, ideja i praksi među which initiate a quality exchange of knowledge, ideas and practices stvaraocima u pozorištu za decu i mlade, i svih koji mogu da utiču among the creators of theatre for children and young people, and na razvoj i poboljšanje recepcije pozorišne umetnosti za mladu all the others who can contribute to the development and improve- publiku, a naročitu pažnju poklanja mladim kreativnim snagama. ment of theatre for young audience, while paying special attention to the creative power of the young. Forum dramskih pisaca “Dramaturgija u odrastanju” je dvodnevni program koji organizuje ASSITEJ Srbije povodom promocije knjige The Playwrights’ Forum “Growing Dramaturgy” is a two-day pro- Britanska čitanka, zbirke dramskih tekstova savremenih britan- gramme organized by ASSITEJ Serbia for the promotion of the book skih pisaca u izdanju Kazališnog Epicentra iz Zagreba.
    [Show full text]
  • T H E a T R E a R T S R E V I
    32 THEATRE ARTS REVIEW Scena, ISSN 0351-3963 Theatre Arts Review No. 32 NOVI SAD, 2019 January–December CONTENTS Miloš Latinović and Željko Jovanović THE CREATIVITY OF DRAMATISATIONS . > 7 Translated by > Stefan Alidini Nebojša Bradić THE DEVIL’S YARD ....................... > 12 Translated by > Stefan Alidini Spasoje Ž. Milovanović 1915 - TRAGEDY OF A PEOPLE . .> 32 Translated by > Stefan Alidini Dimitrije Kokanov AND EVERY TIME EXACTLY LIKE THE FIRST ......................... > 68 Translated by > Stefan Alidini THEATRE ARTS REVIEW 7 > Željko Jovanović and Miloš Latinović THE daptation of prose works for theatre is a frequent CREATIVITY OF occurrence in theatre stage productions, but poetry A can also be dramatised. Aside from adapting nov- els (for example, of Slobodan Selenić, Milorad Pavić, Al- eksandar Tišma, etc.) or Greek tragedies, poems, myths, DRAMATISATIONS there are adaptations of epic folk poetry specific to Ser- bia and the Balkans. Simović’s Hasanaginica or Banović Strahinja adapted by Borislav Mihailović-Mihiz based on the motifs of these two poems, are performed with great frequency. A great example of adapting poetry for stage Translated by > Stefan Alidini is Jernej Lorenci’s Kingdom of Heaven. He and his team staged poems from the pre-Kosovo and Kosovo cycles at BITEF and the National theatre. These are only some of the numerous examples where great works of literature – regardless of whether they were written as plays, for they can also be a part of the adaptation process – novels or folk poetry, were trans- formed into a new version and a first-rate dramatic text. One of many things to note is that working based on existing literature (mainly prose) falls into a separate category of dramatic works that are considered “origi- nal” creations.
    [Show full text]
  • Multimedia Document As a Student's Project in the Department of Library and Information Science at Faculty of Philology In
    SCIENTIFIC PAPER UDC 004.55:378.147]:02(497.11) MULTIMEDIA DOCUMENT AS A STUDENT’S PROJECT IN THE DEPARTMENT OF LIBRARY AND INFORMATION SCIENCE AT FACULTY OF PHILOLOGY IN BELGRADE Aleksandra Trtovac* University Library “Svetozar Markovic”, Belgrade Abstract: Multimedia document is a new course for the students of fourth year of un- dergraduate studies at Faculty of Philology in Belgrade, the Department of Library and Information Science. The course is designed as a project during which students find, se- lect and digitise materials on a particular subject, using previously acquired knowledge. Work on the project results in creation of multimedia document. Through a description of the student’s project and work analysis on the first of the multimedia documents, we will show the stages in the development of this document and the qualitative indicators considering the needs and motivation of students to apply practically the knowledge they learned in theory. We will present one of possible models of cooperation among students of different faculties. The first multimedia document which students of the De- partment of Library and Information Science made is dedicated to Aleksandar Popović, a playwright. Keywords: multimedia document, Aleksandar Popović, digitalization, multimedia, li- brary and information science, cooperation. *[email protected] INFOtheca, № 2, vol XI, December 2010 45 ALEkSANDRA TrtovAC ‒ MULTIMEDIA DOCUMENT AS A STUDENT’S PROJECT... 1. Multimedia portance of multimedia documents is especially Multimedia is presenting text, audio, graph- evident in distance learning where students can, ics, animation or video in an integrated form by online or offline multimedia content, get all using computer technology.
    [Show full text]
  • NEW HORIZONS Culture, Arts and Media in the Digital Environment BOOK of ABSTRACTS
    NEW HORIZONS Culture, Arts and Media in the Digital Environment BOOK OF ABSTRACTS On the occasion of celebrating 30 years of the Institute for Theatre, Film, Radio and Television of the Faculty of Dramatic Arts in Belgrade NEW HORIZONS Culture, Arts and Media in the Digital Environment BOOK OF ABSTRACTS Edited by: Tatjana Nikolić Faculty of Dramatic Arts Belgrade, 2019 Conference Programme Committee Milena Dragićević Šešić, Chairperson, PhD, Professor and Director of the In- stitute for Theatre, Film, Radio and Television of the Faculty of Dramatic Arts, Belgrade, Serbia Deniz Bayrakdar, PhD, Professor, Faculty of Communication, Kadir Has Uni- versity, Istanbul, Turkey Nevena Daković, PhD, Professor, Faculty of Dramatic Arts in Belgrade (FDA) Nancy Duxbury, PhD, Researcher, Centre for Social Studies, University of Coimbra, Portugal Giovanna Fossati, PhD, Professor, Faculty of Humanities, University of Am- sterdam, Netherlands Svetlana Hristova, PhD, Associate Professor, Faculty of Arts, South-West Uni- Aleksandar Jerkov, PhD, Professor, Faculty for Philology, University of Bel- grade,versity Serbia “Neofit Rilski” of Blagoevgrad, Bulgaria Bojan Jović, PhD, Institute for Literature and Arts, Belgrade, Serbia Maja Korać Sanderson, PhD, Researcher, Centre for Social Justice and Change, University of East London, UK Ana Martinoli, PhD, Associate Professor, FDA Ivan Medenica, PhD, Professor, FDA Rastko Močnik, PhD, University of Ljubljana, Slovenia Monika Mokre, PhD, Senior Researcher, Institute of Culture Studies and The- atre History of
    [Show full text]
  • Mr. Denis Huber Aleksandar Sasa Djordjevic Dragan Dzajic European Heritage Days Film Archives Mr
    PROPERTY MANAGEMENT REAL ESTATE EVALUATIONS MR. DENIS HUBER ALEKSANDAR SASA DJORDJEVIC DRAGAN DZAJIC EUROPEAN HERITAGE DAYS FILM ARCHIVES MR. NEBOJSA BRADIC Editorial Contents elgrade is the city that lasts through ages. Rulers, armies, builders and destroyers have MR. DENIS HUBER 04 been changing in it, and today HEAD OF THE COUNCIL OF EUROPE MISSION Bthe part of that history is visible in many places. Yet, what cannot be TO SERBIA seen but felt by everybody, even by Something in Between Paris and Rio those who are in this city for the first time, is the unusual blend of spiritual similarities and differences. No wonder ALEKSANDAR SASA DJORDJEVIC 07 since representatives of many nations Metropolis of Charm with the Sports Brand and confessions live in Belgrade and they all have in common that unusual emotional attitude towards this city DRAGAN DZAJIC 12 that is neither the most beautiful, BEST FOOTBALLER EVER IN THE “RED STAR,“ nor the biggest or the most modern in Skadarlija Bowls Everybody Over the world but still has that miraculous energy and charm that turn it into one of the eligible capitals in this part of FILM ARCHIVES 15 the world. Therefore it has officially MUSEUM OF THE GLOBAL IMPORTANCE been awarded the name City of the Future in Southern Europe. The Guardian of the Film History From its first issue our magazine has been searching for collocutors who VOS MEDIATOR – TRUSTWORTHY MEDIATOR 16 solve the secret of the Belgrade life. So, in the autumn issue there are Doing Business with Easiness several interviews with the people who are well known all over the world.
    [Show full text]
  • Masaryk University
    MASARYK UNIVERSITY THE FACULTY OF ARTS Theory and History of Theatre Student: Emir Zec VÁCLAV HAVEL‟S PLAYS STAGED IN BOSNIA AND HERZEGOVINA Master‟s Thesis Mentor: M.A. David Drozd, Ph.D. 2011 1 | P a g e I declare that I prepared Master Thesis work independently, using listed resources and literature. ..…………………………..………………… Signature of author 2 | P a g e Acknowledgments I would like to extend my deepest gratitude to: M.A. David Drozd, Ph.D. for guidance, valuable advice, comments and selfless patience, Amir Zec, Adila Zec, Suad and Ina Smajić, Kadira and Horst Hannibal, Fuad Smajić, Muharem-Hari Zahirović, Dušan, Snjeţana and Diana Miĉeviĉ and to Selma Đonlagić, Alma Tanović, Renata Tomić and Sanja Berberović for assisting me with English language. 3 | P a g e Contents: 1. Introduction 6 1.1. Briefly on Havel’s plays in former Yugoslavia 6 1.2. The structure of the paper 10 1.3. Havel’s life, work and political connotations 11 1.4. Reception of Václav Havel 15 2. Czech Authors on South Slavic Territories 20 3. Audience, the Bosnian National Theatre Zenica, 28th December 1981 29 3.1. Brief History of the Bosnian National Theatre Zenica 29 3.2. Historical Background and the Political Situation in Yugoslavia in 1980 30 3.3. The Context behind Certain Motifs in the Text 32 3.4. Audience in the Bosnian National Theatre Zenica 34 3.5. Conclusion 37 4. Largo Desolato, the Chamber Theatre 55 Sarajevo, 20th February 1987 39 4.1. Brief History of the Chamber Theatre 55 39 4.2.
    [Show full text]